DOCSLIB.ORG

Livres Et Documents Sur Giuseppe Verdi (1813-1901)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Livres Et Documents Sur Giuseppe Verdi (1813-1901) LIVRES ET DOCUMENTS SUR Giuseppe VERDI (1813-1901) (Mise à jour le 28 mars 2013) Médiathèque Musicale Mahler 11 bis, rue Vézelay – F-75008 Paris – (+33) (0)1.53.89.09.10 1 Livres et documents sur Giuseppe Verdi (1813-1901) LIVRES A : Catalogues, catalogues d'expositions, programmes… 3 B : Ecrits de Giuseppe Verdi, correspondance… 3 C: Biographies, études… 3 D : Ouvrages collectifs, colloques, symposiums… 5 E : Revues… 5 G : Analyses d'œuvres… 6 Verdi dans les biographies d'autres compositeurs… 8 Verdi dans les ouvrages thématiques… 9 PARTITIONS 14 ENREGISTREMENTS SONORES 17 REVUES 46 ARCHIVES NUMÉRISÉES 48 FONDS D'ARCHIVES 49 2 LIVRES BIOGRAPHIES DE VERDI A : catalogues… CHUSID Martin. A catalog of Verdi's operas. – Hackensack (New Jersey) : Boonin, 1974. – (BM VER A1) B : écrits de Giuseppe Verdi… VERDI Giuseppe. - Autobiographie à travers la correspondance. - Paris : Lattès, 1984. – (BM VER B6) VERDI Giuseppe. - Briefwechsel. - Frankfurt am Main : Fischer, 1986. – (BM VER B8 (Réserve)) VERDI Giuseppe. - Carteggio Verdi-Boito. 1. - Parma : Istituto di Studi Verdiani, 1978. – (BM VER B7) VERDI Giuseppe. - Carteggio Verdi-Boito. 2. - Parma : Istituto di Studi Verdiani, 1978. – (BM VER B7) VERDI Giuseppe. - Carteggio Verdi-Ricordi, 1882-1885. - Parma : Istituto di Studi Verdiani, 1994. – (BM VER B10) VERDI Giuseppe. - Letters of Giuseppe Verdi. - London : Gollancz, 1971. – (BM VER B5) VERDI Giuseppe. - Una lettera di Giuseppe Verdi, finora non pubblicata (Milano, 21 aprile 1848). - Firenze : Gonnelli, 1948. – (BM VER B2) VERDI Giuseppe. - Verdi intimo : carteggio di Giuseppe Verdi con il Conte Opprandino Arrivabene (1861- 1886). - Milano : Mondadori, 1931. – (BM VER B9) VERDI Giuseppe. - Verdi : the man in his letters. - New York : Fischer, 1942. – (BM VER B1) C : biographies, études… ABBIATI Franco. Giuseppe Verdi. 1. – Milano : Ricordi, 1963. – (BM VER C ABB A1) ABBIATI Franco. Giuseppe Verdi. 2. – Milano : Ricordi, 1963. – (BM VER C ABB A1) ABBIATI Franco. Giuseppe Verdi. 3. – Milano : Ricordi, 1963. – (BM VER C ABB A1) ABBIATI Franco. Giuseppe Verdi. 4. – Milano : Ricordi, 1963. – (BM VER C ABB A1) BALDINI Gabriele. Abitare la battaglia : la storia di Giuseppe Verdi. – Milano : Garzanti, 1970. – (BM VER C BAL B3) BELLAIGUE Camille. Verdi : biographie critique. – Paris : Laurens, 1927. – (BM VER C BEL B1) BONAVENTURA Arnaldo. Verdi. – Paris : Alcan, 1923. – (BM VER C BON B2) BONAVIA Ferruccio. Verdi. – Westport (Connecticut) : Hyperion Press, 1989. – (BM VER C BON B6) BOURGEOIS Jacques. Giuseppe Verdi. – Paris : Julliard, 1978. – (BM VER C BOU B5) BUDDEN Julian. Verdi. – London : Dent & Sons, 1986. – (BM VER C BUD B4) CADIEU Martine. Les récents écrits français sur Verdi. – Parma : Istituto di Studi Verdiani, 1969. – (BM VER C CAD C4) CASINI Claudio. Verdi. – Milano : Rusconi, 1982. – (BM VER C CAS C3) 3 CAZAUX Chantal. Giuseppe Verdi : mode d'emploi. – Paris : Avant-scène opéra : Premières loges, 2012. – (BM VER C CAZ C1) CELLI Teodoro. "Va, pensiero..." : vita di Giuseppe Verdi. – Milano : Rizzoli, 1951. – (BM VER C CEL C5) CIPRIANI Nicola. Verdi dal vivo : antologia di edizioni discografiche. – [Parma] : Azzali, 1989. – (BM VER C CIP C6) CROWEST Frederick. Verdi : man and musician : his biography with especial reference to his english experiences. – London : Milne, 1897. – (BM VER C CRO C2 (Réserve)) DUAULT Alain. Verdi, la musique et le drame. – Paris : Gallimard, 1986. – (BM VER C DUA D1) GATTI Carlo. Verdi : the man and his music. – New York : Putnam's sons, 1955. – (BM VER C GAT G1) GATTI Carlo. Verdi. – Paris : Gallimard, 1961. – (BM VER C GAT G2) GERICK Herbert. Giuseppe Verdi. – Potsdam : Akademische Verlagsgesellschaft Athenaion, 1932. – (BM VER C GER G3) HUSSEY Dyneley. Verdi. – New York : Pellegrini & Cudahy, 1949. – (BM VER C HUS H1) JENSEN Luke. Giuseppe Verdi and Giovanni Ricordi with notes on Francesco Lucca : from "Oberto" to "La Traviata". – New York ; London : Garland publishing, 1989. – (BM VER C JEN J1) KIMBELL David R.B.. Verdi in the age of Italian romanticism. – Cambridge : Cambridge University Press, 1981. – (BM VER C KIM K2) KUHNER Hans. Giuseppe Verdi in selbstzeugnissen und Bilddokumenten. – Reinbek bei Hamburg : Rowohlt, 1968. – (BM VER C KUH K1) LABIE Jean-François. Le Cas Verdi. – Paris : Laffont, 1987. – (BM VER C LAB L1 (Réserve) Livres dédicacés) LABIE Jean-François. Le Cas Verdi. – Paris : Fayard, 2000. – (BM VER C LAB L2) MALRAYE Jean. Giuseppe Verdi : l'homme et son oeuvre. – Paris : Seghers, 1965. – (BM VER C MAL M7) MARTIN George (Whitney). Verdi : his music, life and times. – New York : Dodd, Mead & Company, 1963. – (BM VER C MAR M1) MARTIN George (Whitney). Aspects of Verdi. – London : Robson Books, 1988. – (BM VER C MAR M1b) MARCHESI Gustavo. Giuseppe Verdi. – Torino : Unione Tipografico - Editrice Torinese, 1970. – (BM VER C MAR M3) MILZA Pierre. Verdi et son temps. – Paris : Perrin, 2001. – (BM VER C MIL M2) MILA Massimo. La Giovinezza di Verdi. – Torino : Edizioni RAI Radiotelevisione Italiana, 1974. – (BM VER C MIL M4) MILA Massimo. L'Arte di Verdi. – Torino : Einaudi, 1980. – (BM VER C MIL M5) MILA Massimo. Giuseppe Verdi. – Bari : Laterza, 1958. – (BM VER C MIL M6) MINGARDI Corrado. Séjours verdiens : Busseto, Roncole Verdi, Sant' Agata. – Milano : Ricci, 2001. – (BM VER C MIN M8) MUZIO Emanuele. Giuseppe Verdi nelle lettere di Emanuele Muzio ad Antonio Barezzi. – Milano : Fratelli Treves, 1931. – (BM VER C MUZ M9) ORCEL Michel. Verdi : la vie, le mélodrame. – Paris : Grasset, 2001. – (BM VER C ORC O2) OSBORNE Charles. Verdi : a life in the theatre. – New York : Knopf, 1987. – (BM VER C OSB O1) PARKER Roger. Leonora's last act : essays in Verdian discourse. – Princeton (New Jersey) : Princeton University Press, 1997. – (BM VER C PAR P8) PAULS Birgit. Giuseppe Verdi und das Risorgimento : ein politischer Mythos im Prozess der Nationenbildung. – Berlin : Akademie Verlag, 1996. – (BM VER C PAU P9) PERINELLO Carlo. Giuseppe Verdi. – Berlin : Harmonie, 1900. – (BM VER C PER P6) PHILLIPS-MATZ Mary Jane. Verdi : a biography. – Oxford : Oxford University Press, 1993. – (BM VER C PHI P4) PHILLIPS-MATZ Mary Jane. Giuseppe Verdi. – Paris : Fayard, 1996. – (BM VER C PHI P5) 4 PIERRE-PETIT. Verdi. – Paris : Seuil, 1958. – (BM VER C PIE P1) PIERRE-PETIT. Giuseppe Verdi. – Lausanne Paris : Editions du Sud : Albin Michel, 1966. – (BM VER C PIE P10) POMPEE Hélène. Peppino ou Enfance et jeunesse de Giuseppe Verdi. – Paris : Corrêa, 1940. – (BM VER C POM P3) POUGIN Arthur. Verdi : sein Leben und seine Werke. – Leipzig : Reissner, 1887. – (BM VER C POU P2 (Réserve)) SHEEAN Vincent. Orpheus at eighty. – New York : Random House, 1958. – (BM VER C SHE S1) TOYE Francis. Giuseppe Verdi : his life and works. – London : Gollancz, 1962. – (BM VER C TOY T1) VALORI-RUSTICHELLI Henry-François, Vicomte de, dit Prince de. Verdi et son oeuvre. – Paris : Calmann-Lévy, 1895. – (BM VER C VAL V1 (Réserve)) VAN Gilles de. Verdi, un théâtre en musique. – Paris : Fayard, 1992. – (BM VER C VAN V2) WALKER Frank. The Man Verdi. – New York : Knopf, 1962. – (BM VER C WAL W1) WEAVER William. Verdi : d'après les documents d'époque rassemblés et présentés. – Tours : Van de Velde, 1978. – (BM VER C WEA W4 (Grand format)) WERFEL Franz. Verdi : ou le roman de l'opéra. – Paris : Hachette, 1966. – (BM VER C WER W2) WERFEL Franz. Verdi : Roman der Oper. – Frankfurt am Main : Fischer, 1979. – (BM VER C WER W3) YBARRA Thomas Russell. Verdi : miracle man of opera. – New York : Harcourt, Brace and Company, 1955. – (BM VER C YBA Y1) TUBEUF André. Verdi : de vive voix. – Arles : Actes Sud, 2010. – (BM VER CT2) D : ouvrages collectifs, colloques… CONATI Marcello. Encounters with Verdi. – Ithaca (New York) : Cornell University Press, 1986. – (BM VER D10) GIANNOTTI Gina. Verdi, l'Europe et la France : actes du colloque pour le centième anniversaire de la mort de Giuseppe Verdi, Opéra national du Rhin, Strasbourg, 26-27 janvier 2001. – Strasbourg : Istituto Italiano di Cultura de Strasbourg, 2002. – (BM VER D11) LATHAM Alison. Verdi in performance. – Oxford : Oxford University Press, 2001. – (BM VER D12) CONATI Marcello. Interviews and encounters with Verdi. – London : Gollancz, 1984. – (BM VER D13 (Réserve)) . Nuove prospettive nella ricerca verdiana : atti del convegno internazionale in occasione della prima del "Rigoletto" in edizione critica, Vienna, 12-13 mars 1983. – Parma Milano : Istituto di Studi Verdiani : Ricordi, 1987. – (BM VER D17) WEAVER William. The Verdi companion. – London : Gollancz, 1980. – (BM VER D8) CHUSID Martin. Verdi's middle period (1849-1859) : source studies, analysis, and performance practice. – Chicago ; London : University of Chicago Press, 1997. – (BM VER D9) E : revues… Giuseppe Verdi. – München : Text + kritik, 1979. – (BM VER E1) 5 G : analyse des œuvres… Opéras - généralités Il mio Verdi : dodici opere di Verdi raccontate dai più grandi interpreti del nostro tempo. – Roma : Socrates, 2000. – (BM VER G Opéras) BUDDEN Julian. The Operas of Verdi. 1. – London : Cassell and Company, 1973. – (BM VER G Opéras) BUDDEN Julian. The Operas of Verdi. 2. – London : Cassell and Company, 1978. – (BM VER G Opéras) BUDDEN Julian. The Operas of Verdi. 3. – London : Cassell and Company, 1981. – (BM VER G Opéras) CABOURG Jean. Guide des opéras de Verdi : livrets, analyses, discographies. – Paris : Fayard, 1990. – (BM VER G Opéras) GODEFROY Vincent. The Dramatic genius of Verdi. 1 : studies of selected operas. – London : Gollancz, 1975. – (BM VER G Opéras) GODEFROY Vincent. The Dramatic genius of Verdi. 2 : studies of selected operas. – London : Gollancz, 1977. – (BM VER G Opéras) HUGHES Spike (Patrick). Famous Verdi operas : an analytical guide for the opera-goer and armchair listener. – Philadelphia ; New York ; London : Chilton Book Company, 1968. – (BM VER G Opéras) OSBORNE Charles. The complete operas of Verdi. – New York : Knopf, 1970. – (BM VER G Opéras) PARKER Roger. Studies in early Verdi, 1832-1844 : new information and perspective on the Milanese musical milieu and the operas from Oberto to Ernani. – New York ; London : Garland publishing, 1989. – (BM VER G Opéras) PARKER Roger. The New Grove guide of Verdi and his operas. – New York : Oxford University Press, 2007. – (BM VER G Opéras) RINALDI Mario.
Load more

Recommended publications
  • Reviews of This Artist
    Rezension für: Hertha Klust Pilar Lorengar: A portrait in live and studio recordings from 1959-1962 Vincenzo Bellini | Giacomo Puccini | Georg Friedrich Händel | Enrique Granados | Alessandro Scarlatti | Wolfgang Amadeus Mozart | Giuseppe Verdi | Joaquín Rodrigo | Joaquín Nin | Jesús García Leoz | Jesús Guridi | Eduardo Toldrà | _ Anonym | Jacobus de Milarte | Esteban Daza | Juan Bermudo | Luis de Narváez | Juan Vásquez | Alonso Mudarra | Luis de Milán | Diego Pisador | Enríquez de Valderrábano 3CD aud 21.420 operafresh.blogspot.de Tuesday, May 20, 2014 ( - 2014.05.20) Pilar Lorengar Live and Studio Recordings 1959-1962 Berlin In addition to the live opera recordings on this release, is the famous studio recording of songs with guitar featuring Siegfried Behrend available for the first time on CD outside of Japan. Full review text restrained for copyright reasons. Das Opernglas Juni 2014 (J. Gahre - 2014.06.01) CD News Ihre Stimme [strahlt] in diesen um 1960 gemachten Aufnahmen Wärme und Weiblichkeit aus, die den modernen Hörer durchaus gefangen nehmen können. Full review text restrained for copyright reasons. page 1 / 96 »audite« Ludger Böckenhoff • Tel.: +49 (0)5231-870320 • Fax: +49 (0)5231-870321 • [email protected] • www.audite.de http://theaterpur.net Juni 2014 (Christoph Zimmermann - 2014.06.01) Tenorales Gruppenbild mit Damen Pilar Lorengars klares, sonnenhelles Organ lässt nirgends falsche Sentimentalität aufkommen. [...] Neuerlich bezaubert die Natürlichkeit der Darstellung ohne ein demonstratives Ausstellen vokaler Raffinessen. Full review text restrained for copyright reasons. Der Tagesspiegel 22.07.2014 (Frederik Hanssen - 2014.07.22) Klassik-CD der Woche: Pilar Lorengar Spanische Nächte Die Norma wie auch „Piangerò la sorte mia“ aus Händels „Giulio Cesare“ meistert sie mit Eleganz, jugendlicher Strahlkraft und schier endlosem Atem Full review text restrained for copyright reasons.
    [Show full text]
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette.
    [Show full text]
  • 1 CRONOLOGÍA LICEÍSTA Se Incluye Un Listado Con Las
    CRONOLOGÍA LICEÍSTA Se incluye un listado con las representaciones de Aida, de Giuseppe Verdi, en la historia del Gran Teatre del Liceu. Estreno absoluto: Ópera del Cairo, 24 de diciembre de 1871. Estreno en Barcelona: Teatro Principal, 16 abril 1876. Estreno en el Gran Teatre del Liceu: 25 febrero 1877 Última representación en el Gran Teatre del Liceu: 30 julio 2012 Número total de representaciones: 454 TEMPORADA 1876-1877 Número de representaciones: 21 Número histórico: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21. Fechas: 25 febrero / 3, 4, 7, 10, 15, 18, 19, 22, 25 marzo / 1, 2, 5, 10, 13, 18, 22, 27 abril / 2, 10, 15 mayo 1877. Il re: Pietro Milesi Amneris: Rosa Vercolini-Tay Aida: Carolina de Cepeda (febrero, marzo) Teresina Singer (abril, mayo) Radamès: Francesco Tamagno Ramfis: Francesc Uetam (febrero y 3, 4, 7, 10, 15 marzo) Agustí Rodas (a partir del 18 de marzo) Amonasro: Jules Roudil Un messaggiero: Argimiro Bertocchi Director: Eusebi Dalmau TEMPORADA 1877-1878 Número de representaciones: 15 Número histórico: 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36. Fechas: 29 diciembre 1877 / 1, 3, 6, 10, 13, 23, 25, 27, 31 enero / 2, 20, 24 febrero / 6, 25 marzo 1878. Il re: Raffaele D’Ottavi Amneris: Rosa Vercolini-Tay Aida: Adele Bianchi-Montaldo Radamès: Carlo Bulterini Ramfis: Antoine Vidal Amonasro: Jules Roudil Un messaggiero: Antoni Majjà Director: Eusebi Dalmau 1 7-IV-1878 Cancelación de ”Aida” por indisposición de Carlo Bulterini.
    [Show full text]
  • Ideazione E Coordinamento Della Programmazione a Cura Di Massimo Di Pinto Con Kiyomi Nakamura
    Ideazione e coordinamento della programmazione a cura di Massimo Di Pinto con Kiyomi Nakamura gli orari indicati possono variare nell'ambito di 4 minuti per eccesso o difetto Mercoledì 8 maggio 2013 00:00 - 02:00 a notte alta bach, johann sebastian (1685-1750) variazioni sul corale "allein gott in der höh sei ehr" BWV 771 wolfgang rubsam, org durata: 18.52 philips 438-179-2 f 7 tr 4 monteverdi, claudio (1567-1643) hor ch'el ciel e la terra, madrigale guerriero a sei voci e b. c. 1/22 - 1/23 elem del compl strum "la capella reial de catalunya" dir. jordi savall durata: 9.06 astreé e-8546 f 1 tr 22 beethoven, ludwig van (1770-1827) serenata in re mag per fl e pf op. 41 entrata (allegro) - tempo ordinario d'un menuetto - allegro molto - andante con variazioni - allegro scherzando e vivace - adagio - allegro vivace e disinvolto. 1/8 - 1/14 emmanuel pahud, fl; éric le sage, pf durata: 24.03 valois v-4693 f 1 tr 8 fauré, gabriel (1845-1924) quartetto per pf e archi n. 2 in sol min op. 45 allegro molto moderato - allegro molto - adagio ma non troppo - allegro molto. 1/1 - 1/4 trio beaux arts: isidore cohen, vl; bernard greenhouse, vcl; menahem pressler, pf; con lawrence dutton, vla durata: 34.52 philips 434-071-2 f 1 tr 1 albéniz, isaac (1860-1909) due danze dalla "suite española" op. 47 trascriz per chit di manuel barrueco dall'orig per pf. n. 7 cuba - n. 5 asturias. 1/22 - 1/23 manuel barrueco, chit durata: 10.57 emi 5-55315-2 f 1 tr 22 casella, alfredo (1883-1947) a notte alta, poema per pf e orch da camera trascr.
    [Show full text]
  • Bellini's Norma
    Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation.
    [Show full text]
  • Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
    (De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification.
    [Show full text]
  • Central Opera Service Bulletin
    CENTRAL OPERA SERVICE BULLETIN WINTER, 1972 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Center Plaza • Metropolitan Opera • New York, N.Y. 10023 • 799-3467 Sponsored by the Metropolitan Opera National Council Central Opera Service • Lincoln Canter Plaza • Metropolitan Opera • New York, NX 10023 • 799.3467 CENTRAL OPERA SERVICE COMMITTEE ROBERT L. B. TOBIN, National Chairman GEORGE HOWERTON, National Co-Chairman National Council Directors MRS. AUGUST BELMONT MRS. FRANK W. BOWMAN MRS. TIMOTHY FISKE E. H. CORRIGAN, JR. CARROLL G. HARPER MRS. NORRIS DARRELL ELIHU M. HYNDMAN Professional Committee JULIUS RUDEL, Chairman New York City Opera KURT HERBERT ADLER MRS. LOUDON MEI.LEN San Francisco Opera Opera Soc. of Wash., D.C. VICTOR ALESSANDRO ELEMER NAGY San Antonio Symphony Ham College of Music ROBERT G. ANDERSON MME. ROSE PALMAI-TENSER Tulsa Opera Mobile Opera Guild WILFRED C. BAIN RUSSELL D. PATTERSON Indiana University Kansas City Lyric Theater ROBERT BAUSTIAN MRS. JOHN DEWITT PELTZ Santa Fe Opera Metropolitan Opera MORITZ BOMHARD JAN POPPER Kentucky Opera University of California, L.A. STANLEY CHAPPLE GLYNN ROSS University of Washington Seattle Opera EUGENE CONLEY GEORGE SCHICK No. Texas State Univ. Manhattan School of Music WALTER DUCLOUX MARK SCHUBART University of Texas Lincoln Center PETER PAUL FUCHS MRS. L. S. STEMMONS Louisiana State University Dallas Civic Opera ROBERT GAY LEONARD TREASH Northwestern University Eastman School of Music BORIS GOLDOVSKY LUCAS UNDERWOOD Goldovsky Opera Theatre University of the Pacific WALTER HERBERT GIDEON WALDKOh Houston & San Diego Opera Juilliard School of Music RICHARD KARP MRS. J. P. WALLACE Pittsburgh Opera Shreveport Civic Opera GLADYS MATHEW LUDWIG ZIRNER Community Opera University of Illinois See COS INSIDE INFORMATION on page seventeen for new officers and members of the Professional Committee.
    [Show full text]
  • Die Musik in Geschichte Und Gegenwart Supplement 12Ager A
    Die Musik in Geschichte und Gegenwart Supplement 12Ager A Aa, Michel van der bildung. Sie debütierte am 15. Febr. 1889 an der Wiener Hofoper in *10. März 1970 in Oss (Niederlande), Komponist. Van der Aa stu- V.Bellinis La sonnambula als Amina. Die Kritik bewunderte zwar die dierte Komposition und Aufnahmetechnik am Kgl. Kons. in Den technische Versiertheit der jungen Künstlerin, hielt ihre Leistung Haag bei Diderik Wagenaar, Gilius van Bergeijk und L.Andriessen. Er aber in musikalischer Hinsicht für wesentlich steigerungsfähig. Über besuchte den International Dance Course for Professional Choreographers Riga (1890–1891) und München (1891–1894) kehrte sie wieder nach and Composers (1994), studierte an der New York Film Academy (2002) Wien zurück, konnte dort aber trotz der Protektion Mahlers nicht und war Teilnehmer des Director’s Lab am Lincoln Center Theater endgültig Fuß fassen. Sie ging deshalb am 1.Sept. 1899 an die Dresde- (New York 2007). Van der Aa wurde mehrfach mit Preisen ausge- ner Hofoper, deren Mitglied sie bis zum 30. Sept. 1909 blieb. Dort zeichnet (Kompositonspreis der Stiftung Gaudeamus, 1999; Nach- erschloß sie sich am 21. Okt. 1902 als Tosca (neben K.Burrian und wuchspreis des Amsterdam Fonds voor de Kunst, 2000; Matthijs Vermeulen C.Scheidemantel) bei der deutschen EA von Puccinis gleichnamiger Prijs, 2004; Ernst von Siemens Musikpreis und Charlotte-Köhler-Preis, 2005; Oper die letzte große Rolle ihres ungewöhnlichen Repertoires. Nach Paul-Hindemith-Preis, 2006). dem offiziellen Ende ihrer Opernkarriere wirkte sie weiterhin als Konzertsängerin, war aber vor allem pädagogisch tätig. werke (Auswahl; Verleger: bis 2004 Donemus, Amsterdam, anschlie- ßend Boosey & Hawkes, London) Die souveräne technische Verfügbarkeit über ihre Stimme hat A.Vokalmusik Irene Abendroth schon in jungen Jahren dazu verführt, sich ein Here Trilogy für S, KaOrch.
    [Show full text]
  • La Gioconda (Review) William Ashbrook
    La Gioconda (review) William Ashbrook The Opera Quarterly, Volume 18, Number 1, Winter 2002, pp. 128-129 (Review) Published by Oxford University Press For additional information about this article https://muse.jhu.edu/article/25455 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] 128 recordings La Gioconda. Amilcare Ponchielli La Gioconda: Giannina Arangi-Lombardi Isepo/Singer: Giuseppe Nessi Laura: Ebe Stignani Zuane/Singer: Aristide Baracchi La Cieca: Camilla Rota Orchestra and Chorus of La Scala, Milan Enzo Grimaldo: Alessandro Granda Lorenzo Molajoli, conductor Barnaba: Gaetano Viviani Naxos Historical 8.110112–14 (3 CDs) Alvise Badoero: Corrado Zambelli This is the complete Gioconda from 1931, recorded by Italian Columbia, but never issued in the United States during the 78 r.p.m. era. Here it is, vividly remastered by Ward Marston, with bonus tracks consisting of eight arias and two duets featuring the soprano Giannina Arangi-Lombardi, whom Max de Schauensee always referred to as “the Ponselle of Italy.” I have a special aVection for La Gioconda, as it was my first opera, seen when I was seven. Three things made an unforgettable impression on me. Hearing big voices live had quite an impact, since before then I had heard opera only on acoustic records (I still think that Julia Claussen, the Laura of that occasion, could sing louder than anyone I have heard since); although the plot made no sense to me, the Dance of the Hours seemed perfectly logical; and I got cold chills from the moment the big ensemble was launched at the end of act 3.
    [Show full text]
  • Boris Godunov
    6 La Fenice prima dell’Opera 2008 6 2008 Fondazione Stagione 2008 Teatro La Fenice di Venezia Lirica e Balletto Modest Musorgskij Boris odunov g odunov oris oris b G usorgskij m odest odest M FONDAZIONE TEATRO LA FENICE DI VENEZIA ALBO DEI FONDATORI Stato Italiano SOCI SOSTENITORI SOCI BENEMERITI CONSIGLIO DI AMMINISTRAZIONE Massimo Cacciari presidente Luigino Rossi vicepresidente Fabio Cerchiai Achille Rosario Grasso Giorgio Orsoni Luciano Pomoni Giampaolo Vianello Gigliola Zecchi Balsamo Davide Zoggia William P. Weidner consiglieri sovrintendente Giampaolo Vianello direttore artistico Fortunato Ortombina direttore musicale Eliahu Inbal COLLEGIO DEI REVISORI DEI CONTI Giancarlo Giordano, presidente Giampietro Brunello Adriano Olivetti Andreina Zelli, supplente SOCIETÀ DI REVISIONE PricewaterhouseCoopers S.p.A. ALBO DEI FONDATORI SOCI ORDINARI boris godunov opera in quattro atti e un prologo versione originale 1872 libretto e musica di Modest Musorgskij Teatro La Fenice domenica 14 settembre 2008 ore 19.00 turni A1-A2 martedì 16 settembre 2008 ore 19.00 turni D1-D2 giovedì 18 settembre 2008 ore 19.00 turni E1-E2 sabato 20 settembre 2008 ore 15.30 turni B1-B2 martedì 23 settembre 2008 ore 17.00 turni C1-C2 La Fenice prima dell’Opera 2008 6 Musorgskij in un ritratto fotografico di Repin. La Fenice prima dell’Opera 2008 6 Sommario 5 La locandina 7 Dimenticare Rimskij! di Michele Girardi 11 Anselm Gerhard «Roba da bambini» o «vera vocazione dell’artista»? La drammaturgia del Boris Godunov di Musorgskij tra opera tradizionale e teatro radicale
    [Show full text]
  • 483 6175 Ebooklet CD Shellac Era.Indd
    Shellac bars Plant 1 in Hanover, c. 1923 Patent application for the gramophone Separation of two galvano discs Visual quality control, c. 1938 Shellac production Cleaning of the matrices Shipping of shellac discs, c. 1909 2 PIETRO MASCAGNI (1863–1945) GIOACHINO ROSSINI (1792–1868) A Overture to Le maschere (excerpt) 4:01 E Largo al factotum 4:01 Staatskapelle Berlin · Pietro Mascagni from Il barbiere di Siviglia Recording: Berlin 1928 · Matrix 348 bi · Original Cat. No. 66582 A Titta Ruffo baritone with orchestra FRÉDÉRIC CHOPIN (1810–1849) Recording: Milan 1912 · Matrix 463 aj · Original Cat. No. 052380 B Nocturne in E flat major op. 9 no. 2 4:36 EDWARD ELGAR (1857–1934) Raoul Koczalski piano F Recording: Berlin 1936 · Matrix 796 1/2 ge · Original Cat. No. 67246 B Salut d’amour op. 12 3:21 Váša Prˇíhoda violin · Otto A. Graef piano CARL MARIA VON WEBER (1786 –1826) Recording: Berlin, March 1938 · Matrix 3591 gn · Original Cat. No. 30033 A C Alles pflegt schon längst der Ruh’ 4:28 from Der Freischütz GIUSEPPE VERDI (1813–1901) Maria Müller soprano G O Torheit, o Torheit! … Von der Freude Blumenkränzen 2:43 Städtisches Orchester Berlin · Robert Heger (Follie! Follie! … Sempre libera) Recording: Berlin 1943 · Matrix 2191 2 gs · Original Cat. No. 68079 A from La traviata Alda Noni soprano PIETRO MASCAGNI (1863–1945) Staatskapelle Berlin · Artur Rother Recording: Berlin 1942 · Matrix 2071 1/2 ge · Original Cat. No. 68303 A D Intermezzo sinfonico 4:01 from Cavalleria rusticana Staatskapelle Berlin · Pietro Mascagni Recording: Berlin 1927 · Matrix 350 1/2 bi · Original Cat.
    [Show full text]